What, Benjamin pondered, does acamera see that its operator cannot?

In the perverse world of coastal engineering the project is billed as an example of “building with nature,” when in reality it is an essential part of that country’s never-ending war with nature.

Booker retraces the history of engineering drawings (1982). Linear perspective (see above) progressively “changed the concept of pictures from being just representation to that of their being projections onto planes” (p. 31).

The setting works like a giant “optical device” that creates a new laboratory, a new type of vision and a new phenomenon to look at

Bourdieu’s critique of ethnography (1972) is that once this first violence has been committed, no matter what we do, we will not understand the savages any more. Fabian however, sees this mobilization of all savages in a few lands through collection, mapping, list making,archives, linguistics, etc. assomething evil. With candor, he wishes to find another way to “know” the savages.

everything is simultaneously presented to the eye.

metaphor-basedhapticpatterns[60].

“seeing ma-chine,”

shift our ontological gaze

Thus, we definedgaze velocity averaged over the simulated exercise, usingthe harmonic mean, as:vg¼NfsPN1n¼11rgðnÞrgðn1Þwherefsis the sampling rate of the recording device (in thiscase, 30 Hz),Nis the number of samples recorded duringthe simulated exercise, andrg(n)is the(x,y)position of thegaze (in units of degrees of visual angle) on the samplen.Gaze velocity provides information about how fast the gazeis continuously moving through the exercises, indepen-dently of the spatial configuration of its elements.